Winter2016, Tactus - Western Division ACDA

Anna Hamre
President
Executive Board
President
Anna Hamre
Director of Choral Activities,
Cal State Fresno
ahamre@csufresno.edu
Vice President, Exhibits Chair,
Program Ads
Steve Hodson
Professor of Music,
Westmont College
hodson@westmont.edu
President-Elect
Travis Rogers
Napa High School
trogers777@comcast.net
Treasurer
Barbara Hobbs
bkhobbs@baymoon.com
Webmaster,
Communications Chair
Bret Peppo
Director of Choral Activities,
Diablo Valley College
bpeppo@dvc.edu
TACTUS Newsletter Editor
Nina Gilbert
The Webb Schools
ninagilbert@yahoo.com
Arizona President,
Round Table Chair
Elizabeth Schauer
U. of Arizona School of Music
erschaue@email.arizona.edu
California President,
Composer Track Coordinator
Lou De La Rosa
West Valley College
l.delarosa.wvc@gmail.com
Hawai‘i President
Miguel Felipe
Director of Choral Activities,
The University of Hawai‘i at Mānoa
mfelipe@hawaii.edu
Nevada President,
Conference Registration Chair
Kimberly Barclay Ritzer
Green Valley HS, Henderson NV
kritzer@interact.ccsd.net
Utah President
Reed Criddle
Utah Valley U.
reed.criddle@gmail.com
Imagine the plight of poor George Kaiser, Heinrich Schütz’s
favorite bass. In his letter to his Dresden Court employer, who had not paid the few
available musicians for some time, Schütz bitterly complained that Kaiser was forced to
pawn his coat and jacket and sleep on straw for bedding. Making music was
extraordinarily difficult during the Thirty Years’ War.
And yet, some of our greatest masterpieces came out of such dark days.
When we gather in Pasadena in February, let us remember the giants who created
the choral world we live in. We will hear incredible music from this division and
elsewhere on this ever-shrinking planet, music that has developed because of the
generations of devoted choir masters who paved the way for us in 2016.
And that, dear friends, explains the title of this conference:
“How can I keep from singing?”
Travis Rogers
President-Elect
I will never forget attending my
first ACDA Western Division Convention in Los Angeles in
February of 1984. It was three days of choir heaven! Regular
sessions were held at the Airport Hilton Hotel with concerts
presented in the evening at the Loyola Marymount Chapel a few
miles away.
It was the start of now over thirty years of attending Western Division and National
Conventions (now “conferences”). The opportunity to meet and greet the biggest names
in our profession has been just one of many memorable and life-changing experiences.
Techniques learned, literature acquired, social contacts begun and continued have
been some of the real benefits gained through conference attendance through the years.
It’s the concert performances at our gatherings though that remain the most vivid
memories. A hall full of choral directors and singers listening to the best-of-the-best in
spectacular concert halls or churches, enjoying and experiencing together the choral art
and the joy of beautiful singing, have been among the exciting, meaningful and
profoundly impactful experiences of a lifetime.
This year’s lineup for our upcoming conference in Pasadena is truly exceptional.
The venues are beautiful and all sessions and concerts are within a few blocks’ walking
distance. The Western Division board, under the stellar and effective leadership of our
President, Anna Hamre, has planned a terrific conference.
Why should you attend?! Because it’s time for all of us to recharge, come together
and celebrate the art, reaffirm our community as choral musicians and be inspired to
continue to lead and inspire our singers back home with all we learn and experience at
the conference.
R&S Chairs: p. 13
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TACTUS Winter 2016
ACDA Western Division
ACDA Western Division
TACTUS – Winter 2016
3
We asked some Pasadena interest session presenters for inside information:
What drew you to your topic? What have you discovered recently?
I have been interested in missions since we studied them and built replicas
out of sugar cubes in 4th grade! When it came time to choose a topic for my
doctoral dissertation, I happened to be taking a class on American music and
found this whole world of unexplored mission music that, as fate would have it,
was led by my favorite undergraduate professor in music, Craig Russell. I instantly
felt at home. Since then, I have loved exploring the music from that time.
This interest session for new music educators was born out of a desire to
share the kind of information that is often difficult to acquire—unless
one experiences these things first. Much of the career advice I received was so
general it didn’t seem to apply to me or to my educational, career, or life goals.
Music educators are a unique mix of artist and educator, which makes some life
choices and career decisions a bit more complicated than those professionals
who only have one goal in mind. My session addresses some of the issues that
are unique to the music education profession. So if a young music educator can
learn some critical tips for navigating their early career, and avoid some typical
career mistakes from hearing my story—and the resulting advice I can give—
without actually having to go through them, I would be delighted.
.
My career has not been the regular, linear career—staying in one job for 15 years, for instance. Over the last 40
years I have taught in nine different school districts, in two different states, in six different cities. I have taught
at all levels, including the professional choir, University, high school, jr. high school, and elementary (K-5). I
have served as Music Minister in twelve different churches, two of those in a full-time capacity at very large
churches, the rest part-time while teaching concurrently. My programs have been highly successful in every
instance, but by most standards my non-linear career as a whole has been suspect, when observed and
evaluated by others. Since I just completed my DMA at the University of Arizona, I hope be able to teach at the
University level for the next 20 years, and to share my successes and failures with the next several generations
of choral music educators.
This project was originally conceived of as part of the culminating lecture
recital requirement for my master's degree at NAU. With this project, I wanted
to explore the process by which David Lang writes his music. After a phone
interview and many hours studying his scores, it became evident to me that Mr.
Lang is unique in his approach to composition. Most recently, I have uncovered
many medieval techniques in his music after taking a medieval music course at
the University of Arizona (I just began coursework toward the DMA in Choral
Conducting this Fall.) I am excited to share with the ACDA community the things I
have gleaned from his scores. I think the session will be of interest for choral
conductors at all levels and at all stages of their careers.
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TACTUS Winter 2016
ACDA Western Division
I have participated in several Jewish Music workshops for ACDA. The usual
focus was on the Hebrew prayers, and repertoire for religious services. Having
been involved with Jewish Choral music for over 30 years, I wanted to highlight
the repertoire of the non-religious, cultural music of the Jewish People.
For over 10 years I conducted the American Jewish Choral Society, a national
organization dedicated to preserving Yiddish Art Music. For the last 10 years,
through the LA Jewish Symphony, I have presented workshops and concerts that
use Sephardic music to bridge the gap between the Jewish and Latino
populations in LA.
There is a wealth of published and non-published repertoire that can be
used for multi-interfaith and multi-cultural programming. My workshop will
give an introduction to the richness of the music of two different Jewish cultures;
Ashkenazic and Sephardic. Although both pray in Hebrew, the people express the
joys and sorrows of life by singing in the vernacular languages of Yiddish and
Ladino. We will discuss, listen and maybe sing through examples of some of my
favorites, how to incorporate the repertoire in your concerts, and resources on
where to purchase.
I think the idea first germinated as I was setting up for choir rehearsal one
day in a Smart classroom, which has a sound system, computer, and video
projector. I also teach a music appreciation class in there using lots of
technology earlier in the day. I thought to myself, "Why is all of this technology
going away for choir rehearsal? The students are the same, the teacher is the
same...Is this really the best way to rehearse singers?" In my research, I have
found a number of resources recommended by great musicians, while other
helpful methods are relatively unknown by others.
I came up with the acronym in 2014 when I presented an early version of this
session at the Utah Mid-Winter Music Educators Convention and it has stuck
since. I find it nicely represents the main unique idea about this approach to
listening—Circulate to Hear Others In Rotation.
The idea is to give each singer frequent opportunities to encounter all the other
voices and consequently to learn their own place in the ensemble. The singers
take ownership easily of the ideas and often develop new approaches as we
go. Plus, it’s great fun in addition to being transformative! Using Takadimi rhythm syllables has changed the way my students and I
learn, perceive, and perform rhythms. It has provided my students with
concrete tools for rhythmic accuracy, expanded our literacy levels (especially
with intricate rhythms and complex meter) and brought an overall awareness of
the importance of rhythm and beat in all of our music.
ACDA Western Division
TACTUS – Winter 2016
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TACTUS – Winter 2016
ACDA Western Division
Summer 2016: TACTUS’ first annual workshop list
Looking for a summer opportunity in Western Division? Here are seven.
For teachers/adults—singers, directors, audiences—and some also for students/teens.
If you offer a summer program that you’d like included in our next list, let me know!
June 15-19
(Wed-Sun)
Chanticleer in Sonoma
What:
Where: Sonoma State University
Website: chanticleer.org/sonoma
Contact: Jenny Bent:
chanticleerinsonoma@gmail.com or 707-664-3925
Who: Chanticleer
Description/Notes: Intensive five-day program of
coaching, classes, and rehearsals designed to make you
the best choral singer that you can be. Chanticleer’s
twelve singers participate in chamber ensemble
coaching sessions and demonstrations of rehearsal
techniques, as well as informal interactions with
workshop participants throughout the workshop. And
they sing with the tutti ensemble! Designed for
experienced chamber chorus or other choral singers at
the university level and beyond.
July 11-15
(Mon-Fri, 9:00-noon and 1:30-4:30)
What:
San José State U.
Summer Choral
Workshops
Where: San José State University
Website: www.sjsu.edu/music/alumni_community/
summer_choral_workshops/
Who: Charlene Archibeque, Jeffrey Benson
Description/Notes: Morning course focuses on
conducting, afternoon course focuses on rehearsal
techniques.
July 18-20
(Mon-Wed)
c.
June 20July 30
DEADLINE ALERT: MARCH 1
What:
Three-Summer MM in
Choral Conducting
AzACDA
What:
Where: Mesa Community College Performing Arts
Center, Mesa, AZ
Website: www.azacda.org
Contact: AzACDA President Elizabeth Schauer
erschaue@email.arizona.edu
Who: Brad Holmes (Millikin University), Mary Goetze
(Indiana University)
Description/Notes: Interest sessions, reading sessions,
exhibits, discussion sessions, performances and much
more make up this schedule on a wide range of topics
and for all choir types. (photo: AzACDA 2015)
Where: Cal State LA
Website: www.calstatela.edu/choral
Contact: Office of Choral Studies 323-343-4067,
William Belan wbelan@calstatela.edu
Who: William Belan, Donald Brinegar
Description/Notes: By completing three seven-week
summer residency sessions, working music teachers,
international students and others with scheduling
conflicts or location constraints can earn the Master of
Music in Choral Conducting (MMCC) degree,
accredited through the National Association of Schools
of Music (NASM). Each intensive summer session
prepares the student in choral pedagogy, performance
practice and applied vocal/choral training.
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TACTUS – Winter 2016
ACDA Western Division
July 31August 2
(Sun-Tues)
What:
August 4-7
(Thurs-Sun)
What:
San Diego Summer
Choral Festival
Conducting Workshop
Where: San Diego State
Website: sdscf.instantencore.com/
web/page.aspx?title=Conducting+Workshop
Who: Patrick Walders
Description/Notes: Three days of intensive
choral conducting study, focusing on gesture, rehearsal
techniques, warmups (group voice lessons), vocal
pedagogy, programming ideas, and choral literature for
K-12, church, and community choirs, including two
pieces from the San Diego Summer Choral
Festival repertoire (see August 4-7). Private lessons,
group lessons, rehearsals, and interest sessions during
day and evening. A choir made up of members of the
San Diego Master Chorale and auditioned local choral
musicians will be available every evening acting as the
main vehicle for Conducting Fellows, both in rehearsal
and at the culminating recital. Designed for K-12 music
teachers (especially instrumentalists who conduct
choirs), church musicians, community choir
conductors, college and high school students, and
choral music enthusiasts. Participate as Conducting
Fellow, Conductor, or Auditor/Observer.
August 1-5
San Diego Summer
Choral Festival
Where: St. Paul’s Cathedral and St. Andrew’s by-theSea, San Diego
Website: SDSCF.instantencore.com or
www.facebook.com/sdsummerchoralfestival
Who: San Diego Pro Arte Voices
Description/Notes: Improve individual vocal technique,
choral repertoire knowledge, and choral performance
practices, through performance in two of the city’s
most rewarding acoustics—St. Andrew’s by-the-Sea
Episcopal Church (Pacific Beach) and St. Paul’s
Cathedral (Banker’s Hill). Open to all levels of vocal
ability and experience: students (rising 9th graders
through college), church musicians, amateurs, semiprofessionals, and professionals. The artistic vision of
the summer choral festival is to perform repertoire in
different time periods, languages, and styles: works
from the classical canon to unknown gems to new
compositions.
Your
Workshop
Here
(Thurs-Sun)
(Mon-Fri)
What:
Diablo Valley College
A Cappella Camp
Where: Diablo Valley College (Pleasant Hill campus)
Website: dvc.MUSIC.net
Contact: Bret Peppo: 925-969-2699, bpeppo@dvc.edu
Who: Bret Peppo, Kevin Redrico, Martin Lejano
Description//Notes: Week-long training. New a cappella
arrangements. Solo and choral singing techniques.
Beat-boxing workshop. Mid-week talent show. Group
recording session in DVC studio. Ending performance
for friends and families.
ACDA Western Division
To add your summer
workshop to our next list,
contact the editor:
ninagilbert@yahoo.com
TACTUS – Winter 2016
9
Repertoire and Standards Reports
Male Choirs
Zach Halop
I hope you are all looking
forward to the Western
Division Conference! There
will be plenty of great
roundtables, reading sessions, and wonderful music to be
heard and experienced in concert.
As I look back on the past years, I have talked to and
encouraged everyone I know to be forthcoming with
literature selections that were winners. While I have not
heard from many, I hope you all are sharing your ideas for
the good of the choral art. The male chorus reading
session in Pasadena will share some tried and true nuggets
as well as some new pearls. The choices are an eclectic
bunch. There are holiday selections, some multi-cultural
music, folk songs, and some brand-new octavos hot off the
press. Voicings from TB to TTBB divisi.
For everyone in attendance at that session, there will
be to a list to jot down your favorite and successful
selections, which I will then compile and send out to
anyone who wants it.
I hope to see you all at the conference!
ACDA Western Division
TACTUS – Winter 2016
11
UNIVERSITY!CHORAL!ENSEMBLES(
! The! UNLV! CHORAL! ENSEMBLES! enjoy! an! outstanding!
reputation! for! vibrant! performances! throughout! the!
southwest! and! beyond.! From! Las! Vegas! to! New! York,!
from! Mexico! to! Montreal,! the! university! choirs! are!
ambassadors! of! art! and! goodwill! through! their! voices!
united! in! song.! The! choirs! perform! a! wide! variety! of!!!
a" cappella! repertoire! as! well! as! major! choralL
orchestral! masterworks.! Membership! is! open! by!
audition! to! undergraduate! and! graduate! students,!
music! majors! and! nonLmajors.! Some! choirs! are! also!
open!to!faculty,!staff,!alumni!and!community!members.!
!
CONCERT!SINGERS!•!CHAMBER!CHORALE!
VARSITY!MEN!•!WOMEN’S!CHORUS!
LAS!VEGAS!MASTER!SINGERS!
(
David"B."Weiller"&"Jocelyn"K."Jensen,"conductors"
!
“The! UNLV! Singers! delivered! a! near! perfect! concert! of!
sacred! and! secular! music...The! singers,! conductor,!
accompanist! and! audience! members! all! but! danced! in!
the!pews.“!((Concert(Singers(on(tour(in(Colorado)(
(
“...joyous! singing,! remarkable! delicacy! and! poise,!
impressive! performance,! expressive! fervor...”! (festival(
adjudication(by(Martin(Bernheimer,(Los(Angeles(Times)!
(
!
CONCERT!SEASON!2015L2016!
!
"“THE"GREAT"SPIRIT"OF"LOVE”!!
Tuesday,!October!20,!7:30!pm!(UNLV)!
Sunday,!Oct.!25,!2:00!pm!(GV(United(Methodist(Church)(
“The! entire! performance! was! glorious,! yet! disciplined.!
The! orchestra,! soloists! and! choruses! performed! with!
unaffected!charisma.”(((Las(Vegas(ReviewJJournal)(
(
(
The!UNLV!CHORAL!ENSEMBLES!.!.!.!
!
•!!have!toured!the!southwestern!United!States,!Hawaii,!
New!York,!Mexico!and!Canada.!!
!
•!!have!appeared!with!the!University!Symphony!Orchestra,!
the! Las! Vegas! Philharmonic,! the! Boston! Pops! Esplanade!
Orchestra!and!the!Mexico!National!Symphony.!!
31ST"ANNUAL"MADRIGAL<CHAMBER"CHOIR"FESTIVAL"
Friday,!November!6,!4:00!&!7:00!pm!(UNLV)!
"“WHAT"SWEETER"MUSIC”"
Friday,!November!20,!7:30!pm!(UNLV)!
!
"“THE"SNOWMAN:"HOLIDAY"CONCERT”"
with"the"LAS"VEGAS"PHILHARMONIC"
Saturday,!December!5,!2:00!pm!&!7:30!pm!
Sunday,!December!6,!2:00!pm!
(The(Smith(Center(for(the(Performing(Arts)!
!
"“SOMETHING"FOR"EVERYONE”"
Saturday,!March!5,!7:30!pm!(UNLV)!
!
"“ALZHEIMER’S"STORIES”"
Friday,!March!11,!7:30!pm!(Green(Valley(Presbyterian)(
Sunday,!March!13,!3:00!pm!(Mountain(View(Presbyterian)(!
!
"“AN"EVENING"WITH"THE"UNLV"CHOIRS”"
Friday,!April!1,!7:30!pm((Green(Valley(Presbyterian)!!
!
•! have! performed! by! invitation! at! western! division!
conferences! of! the! American! Choral! Directors!
Association! (ACDA)! and! at! regional! and! state!
conferences! of! the! National! Association! for! Music!
Education!(NAfME,!formerly!MENC).!
•! have!appeared!in!numerous!fully!staged!productions!
in!collaboration!with!UNLV!Opera!Theatre.!
•! sponsor! an! active! student! chapter! of! the! American!
Choral!Directors!Association.!The!chapter!has!hosted!
the! ACDA! Western! Division! Student! Symposium!
numerous!times!on!the!UNLV!campus.!
•! proudly!perform!the!music!of!internationally!known!
composer! and! UNLV! alumnus! ERIC! WHITACRE,! who!
first! experienced! choral! music! while! singing! in! the!
UNLV!Choral!Ensembles.!
!
!
CHAMBER"CHORALE"HOME"CONCERT"
Friday,!April!15,!7:30!pm!(UNLV)!
EXPERIENCE!THE!UNLV!CHORAL!TRADITION!!
WOMEN’S"CHORUS"&"VARSITY"MEN’S"GLEE"CLUB"
Wednesday,!April!20,!7:30!pm!(UNLV)!!
TICKETS!
!
!
MASTERWORKS"CONCERT:"BRUCKNER"&"BERNSTEIN"
Saturday,!April!30,!7:30!pm!(UNLV)!
UNLV(Concert(Singers(and(Chamber(Chorale,(Las(Vegas(
Master(Singers(&(UNLV(Symphony(Orchestra(
UNLV(Choral(Studies(office,((702)(895J3008.(
EJmail:(<david.weiller@unlv.edu>!(
!
895GARTS!(2787)!or!pac.unlv.edu!
!
VISIT!US!ONLINE!
www.unlv.edu/music/events((!
www.unlv.edu/music/ensembles(!
www.facebook.com/UNLVChoralEnsembles((
(
12
TACTUS – Winter 2016
ACDA Western Division
Repertoire and Standards Reports
AC D A
Weste rn Divi sion Lea dershi p
Repertoire & Standards Chairs
Boys
Jason Raetz, Phoenix Boys Choir
jwraetz@gmail.com
Children
Herbert Washington, Gilbert Christian HS
herbertwashington@pcchorus.org
College & University
Jennifer Tibben
Cory Evans, Utah State U.
cory.evans@usu.edu
Community Choirs
Thoughts on Community-Based
Women’s Choirs
Michael Short
Orange HS, Orange Community Master Chorale
mshort@ocmchorale.org
Ethnic and Multicultural
Cristian Grases
Thornton School of Music, USC
grases@usc.edu
High School, Interest Session Chair
We are a diverse crowd of folks in the women’s choir world. There are
HS directors that have one or more women’s choirs at their school. There
are community HS group leaders that have talented and rigorously trained
singers. There are collegiate faculty that conduct the women’s choir on their
campus. And there are those of us that lead a community group, volunteer
or auditioned, ages 20+. AND, many of us wear a multitude of those hats!
What role do we play in these varied aged women’s lives? What do they
give us? What do they (and we) give our communities? And how many of us
have had to reply to “Go to a women’s choir concert?! No thanks!”—only to
have the commenter come to the concert and be moved to tears by the
beauty of the singers’ tone and expression?
Here’s what I am realizing: we are vital. We are vital to our
community’s music making. The truth of expression of text that a 70-yearold singer brings to music is quite different than what a 20-year-old brings.
And we need both of those perspectives. Sadly, because of how our bodies
and voices age, the message of the 70-year-old’s story is sometimes not as
beautiful to hear sung. And, the message from the 20-year-old may not be
as rich and complex. So, I strive for balance with the younger voices
bringing strength when sometimes the more mature voices wane. And then
what happens? Life stories are shared, experiences are shared, burdens are
lifted and lightened. The 23-year-old walks out chatting with the 74-yearold about her baby and her work. And they each bring light to the other.
I think when I was a younger whipper-snapper, I missed those
opportunities with my group. I worked relentlessly for the perfect
programming (Hmm….I guess I still do that), and the perfectly matched
vowels and tuned chords (oh, yeah, I still do that, too!). But I missed the
community part. I shared less of myself, and in turn, my singers shared less
as well. Well, a divorce, career path change and kids growing up and
leaving the nest have reshaped me. How my singers can bring their
different stories together and make our story, for our time, for our
community, is my top priority.
We are vital to our singers’ life and health and happiness and wellbeing. We are vital to our community —sharing songs and stories and
providing them with beauty in our shaky and scary world. We provide
respite. And hope. And joy. And beautiful singing. Keep up the good work!
Junior High/Middle School
Laurel Farmer
General Music and Choir, Andalucia Middle School
Assistant Director, Alhambra Choral Institute
twobsmom@gmail.com
Men
Zach Halop, Northwood High School
ZHalop@iusd.org
Music in Worship
Nick Strimple
Music Director, Los Angeles Zimriyah Chorale
Associate Professor, USC Thornton School of Music
strimple@usc.edu
2-Year College
Vacant
Show Choir
Vacant
Vocal Jazz
Greg Amerind
Assistant Artistic Director
Phoenix Boys Choir
gwa@gregoryamerind.com
Women, Reading Session Chair
Jennifer Tibben
Director of Choirs, Damonte Ranch HS
Bella Voce/Reno Phil Chorus
jennifertibben@gmail.com
Youth & Students
David Weiller, U. of Nevada-Las Vegas
Musical Director/Conductor,
College Light Opera Co., Falmouth, MA
david.weiller@unlv.edu
Executive Board: p. 2
x
ACDA Western Division
Ken Abrams
Choral Director, San Ramon Valley HS
Artistic Director, Danville Girls Chorus
kena@pacbell.net
TACTUS – Winter 2016
13
Repertoire and Standards Reports
Herbert Washington
10 Concepts To Enhance the Everyday Rehearsal
“Shake Up” Your Choir Rehearsal
The choir rehearsal is designed to develop the musical skills of the chorister and instill
appreciation for the choral art form. More importantly the rehearsal is a major vehicle to create and build long-lasting
meaningful relationships through exciting and memorable experiences. As teachers, it can be a challenge to balance daily
learning notes, provide individual attention, and engage all students in a fun and intellectual atmosphere. Due to a
decrease in our students' attention span, a decrease in ensemble retention, and an increase in their thirst for instant
gratification, the “sit and sing,” 45 minute or longer choral rehearsal, has faded. As music educators, this reality challenges
us to step out of our own personal shell and reach all students on an exciting, deeper, and personal level. We must find a
way to once more inspire student ownership and contribution in the choral rehearsal.
The following 10 rehearsal concepts stem from my conducting experiences which, whether used consciously or
organically, have proven to be successful in creating a more interesting, engaging, and relevant choral rehearsal.
Many times, as we frantically run around
preparing our classroom for rehearsal, we miss out on
vital opportunities to uplift the moods of our students and
encourage them to leave their worries at the door. Greet
each student at the doorway with a handshake or a Hi-five
as they enter. If this is not possible, then make it a point to
sincerely connect with students about their day as they sit
down and prepare to learn. Then have students quickly
greet those around them to reinforce this concept. Starting
rehearsal with positive individual connections will set the
tone for the rest of their day.
large sweeping motions, marching in place, hand levels, or
dipping. For a greater understanding and ideas study the
Laban and Dalcroze methods of movement. The use of
tactile objects and props are always successful. Bring in
Yoga balls to strengthen their core, straws to assist with
breathing, or ropes to help demonstrate the “press and
release” of a line. During the rehearsal process utilize
movement to enhance and explain musicality. There are a
plethora of resources to give you more ideas if you feel this
is a challenge. To be clear, this is not a new concept, but it
is one that is easily overlooked.
As soon as your class begins, have them do
a physically and mentally engaging activity together. This
does not always have to be related to the music they are
learning in class. For example, students can learn a
choreographed 8 count, a rhythm or solfège exercise,
watch a funny video, or play a fun bonding game. Laughter
is the best tool to combat all negativity.
You are the president of the
room and choristers enjoy when you join the masses.
Change their perspective during the rehearsal. Walk the
room, stand on chairs, stand in between singers while
singing with them, or listening to them. These moments,
allow them to see a different side of you. More importantly
this allows for individual attention and vocal instruction.
Music ensembles provide students with
the opportunity to practice accountability and readiness.
Therefore it is important to share concepts and goals of
the day with your ensemble. Place goal oriented
information, needs, and rehearsal schedule on the board
or projector so that there are clear reminders for students
to follow. On a smaller scale, clear concise goals are
needed when warming up, fixing a musical section, and
providing musical information for the score. This will
speed up the learning process and keep students focused
on the task at hand.
A predictable rehearsal over time becomes
stale and disengaging. Occasionally switch the formation
of the room, practice without chairs, mix the choral parts,
or even rehearse in a new location. This is a great practice
as this concept has a direct correlation to the concert
performance. A predictable concert for the audience can
have an uninspired result as well. Utilize these concepts
provided to enhance the concert experience for all. Some
examples include surrounding the audience, using props
or costumes, different levels and groups, adding musical
instruments, performing in unusual venues, greeting and
thanking guests for attending.
At times we fall into the trap of
monotonous choral warm-ups, which can cause
disengagement unless the purpose is consistently
reinforced or introduced in new way. Add kinesthetic
movement, which corresponds to the vocalise. Such
examples to demonstrate articulation are
With a large mix of personalities
and levels amongst your choristers, it can be difficult to
keep them on task. Teach your ensemble to focus on the
“ready signs” of the conductor. This will allow students to
engage in positive conversation, which benefits the whole
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ensemble. Negative talking consists of speaking out of
turn, or side conversations during the rehearsal while
other sections are working. Encourage positive behavior
and discourage negative behavior without demeaning the
student. When a student is off task, refocus the full class.
Techniques to accomplish include pointing out positive
behavior and actions, seated levels, audible attention
getters (clapping, sirens), walking the room, changing
formations, or a quick 1 min stretch or game. Occasionally
there are unavoidable moments where you must speak
directly with a student without anger, which is extremely
important as it teaches and demands the choristers
respect for the conductor, time, and each other. Our goal is
not to create a completely silent environment as choristers
are wonderful beings with mind, body, spirit, and voice
connected as one.
Media has changed the way we
teach dramatically and for some it is an ongoing battle
with the machines. However your bold move to
incorporate technology will increase the rate of learning
and the once dentistry process of teaching theory will
become renewed and exciting to your choristers. Some
example uses of technology in my classes are skyping with
choral composers and musicians as a clinician, colleagues
to teach the pronunciation of a language, score
preparation and study tips using pdf on screen, listening
and watching other ensembles interpretation of repertoire
or choreography, and sight-reading from our phones.
There are many innovative ways to use technology to
enhance the engagement level of your rehearsal.
As teachers we sometimes find it difficult to
manage talk with work in the rehearsal. One usually
happens in excess depending on our personality.
Discussion in the rehearsal albeit quick or long provides a
differentiated instruction, which invites the chorister to be
engaged and challenged on a different level. I use
discussion when repeating a section of music, explaining
the historical context of the repertoire, reviewing goals of
the day, reflecting on accomplishments or improvement
needs, explaining life lessons via music, and expressing
the beauty of the choral art form. These moments allow
each and every person in the room to be vulnerable and
share true thoughts and feelings.
Since we have opened the rehearsal
with a greeting it is important to come to an inclusive close
during the final minutes of the rehearsal. The “Power of
the Circle” is a great vehicle where the chorister can feel
appreciated, safe, and apart of a family environment as
they walk out the door and face the day head on. Ways this
can be done depending on your ensemble are through
chant or cheer, prayer, games, hugs, or stories. As they
exit, be the face of positivity and care by meeting them at
the door.
Teachers are competing every day to audition and keep choristers involved in choral activities. The tools provided
for a daily engaging rehearsal are a few ways among many. As stated before teachers have been using the following
techniques and more for a long time, but occasionally a reminder is helpful to be imaginative, creative, and personal to
reach your choristers everyday. Please feel free to email me and share your wonderful daily techniques and ideas to
continue to enhance our incredible choral art form.
ACDA Western Division
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Exciting things are happening in Arizona!
There are so many people in our state with great
passion for choral music and an ardent desire to
share it. Here are just some of the things their
dedication and hard work are making possible.
Arizona ACDA currently has over 400 members. During
the 2014 Sing Up membership drive, Arizona was 5th out
of 50 states in overall growth with an increase of 29.6%,
and in the top 5 for student growth with 59 new student
members. This year we were one of 5 states to give away
all of our complimentary memberships for new members.
Our goal is to reach 500 members within the next two
years.
Our summer conference has grown to include more
offerings, invitational performances, more Arizona
presenters, an exhibit space and so much more.
Attendance has shown a 60% increase in the last two
years, with 160 participants in 2015, with attendees not
only from Arizona, but also from California, Washington
and Oregon, and as far away as New York. In 2016 (July
18-20) we will welcome Brad Holmes and Mary Goetze as
our headliners, and will move to our new home at Mesa
Community College Performing Arts Center to
accommodate our increased attendance.
Arizona ACDA sponsors three festivals each year: the High
School State Choral Festival in March, the Junior
High/Middle School Choral Festival in May and the
Cantaremos Honor Choirs Festival for 5th-9th grade singers
in November. This fall our Cantaremos Festival grew to
include over 200 students from 30 different schools and
organizations! How exciting to catch students at this age
and foster a life-long love of our art.
Elizabeth Schauer
The student chapters at Northern
Arizona University and
University of Arizona have hosted
the last two Western Division
Student Symposia in 2014 and
2015, respectively. These events
bring together students (mostly
from Arizona) who create and
attend a mini-conference focused
on the needs of our next generation of choral educators,
and also provide real-world experience for the future
leaders in our profession who design and organize the
event.
Twenty-three dedicated professionals said yes when asked
to serve on the 2015-2017 AzACDA board. They hit the
ground running at our first meeting in July, working to
craft and realize visions of what our organization will be in
the coming years. Our constituents are meeting them
through our new In the Spotlight feature, introducing a
new R&S chair through our Facebook page and email
blasts twice a month.
Arizona will be represented by 197 singers in the three
honor choirs offered at this year’s Western Division
conference. Congratulations and thanks to Stephanie
Brewer, Andie Chung, Ryan Garrison, Aimee Stewart,
Phil Goldblatt, Herbert Washington, Sarah Ross, Andrea
Squires, Danya Tiller, Ron Carpenter, Judith Durocher
and Julian Ackerley for their support of these ensembles!
Thanks for everything you all do for the choral art, for your singers, and to keep the Western Division strong and thriving!
Cantaremos Festival (photo credit: Danya Tiller)
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TACTUS – Winter 2016
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